Edward Enninful on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the growth of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, today a different political force appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from literature.

"Those in a position of influence should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will end."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

His formative years would define a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His life has involved challenges, including well-documented struggles with mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has led him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions didn't always shine a light on the right artists because they did not have the right pedigree," he comments.

This project itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential industry leaders. His journey, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."